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Message 1
From: cucamongie # aol.com
Date: Sun, 24 Jan 2010 14:11:29 GMT
Subject: [Baren 40469] viza's metallic prints
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Viza, do you have any ez-wipe compound? If you add this to the
transparent base and mica, it should make it easier to work with.

Sarah

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Message 2
From: artfulcarol # aol.com
Date: Sun, 24 Jan 2010 15:57:55 GMT
Subject: [Baren 40470] Re: Quandry Over Editions
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This is what I 've gathered about the quandary over editions:
The second number is only your intention to make that many prints.
That gives you the option to go back and do more if you need or want to. You
can make Variants of that print and mark them that way or give each a
name. I like to play around with a composition and colors, so I like Variants

I have had a collector who only wanted a print numbered in the middle of
the edition and one who was thrilled to get the first of the edition.
Actually, the top number does not indicate the order that the print was made.
It's for identification.

Because I do all hand printing, no press, I keep total numbers low, usually
30-40. Also Open Edition does not commit you to any total number of
prints. For anyone who cares, I think that Open Edition is not as valuable.
Carol Lyons
_http://rst-art.com/carolgallery.htm#Escheraria_
(http://rst-art.com/carolgallery.htm#Escheraria) Woodcuts

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Message 3
From: Linda Beeman
Date: Sun, 24 Jan 2010 16:29:45 GMT
Subject: [Baren 40471] Quandry Over Editions
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I set my limit at 12, unless it's an exchange. The reason for 12 is more physical stamina than anything else. But I'm working with a trainer to help with that. And I always do 4-6 on shin torinoko to make sure I'm not wasting good paper getting the block "warmed up" or the colors right.

And I don't want a lot sitting around at this point. Maybe if/when I'm famous" and my prints are in demand I'll make more!

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Message 4
From: Marilynn Smith
Date: Sun, 24 Jan 2010 16:35:23 GMT
Subject: [Baren 40472] metallic pigment
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Barbara, thanks for the comment about linseed oil and paper. I had
forgotten that oil paint with linseed oil in it will damage paper.
(should know that one, gads I did study oil painting!). I think I will
keep looking down here for some powder or water based pigment that is
gold. Or I will just end up with yellow printmaking ink. What would
happen if I gessoed paper and tried printing on that? I imagine some
one has tried that one.

Marilynn

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Message 5
From: "Phare-Camp"
Date: Sun, 24 Jan 2010 17:49:08 GMT
Subject: [Baren 40473] Trans Base AND Oil Paint Question
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Hey Guys: I just remembered something! In my grad classes we would use oil
paints to print with but first we would let an estimated needed amount sit
overnight on stacked papertoweling so that most of the linseed oil would be
pulled out. This could work great with the gold paint and Viza if you use
linseed oil do use only a drop, it is soooo thin I think you might end up
regretting using it (as I did when I once bought the wrong density of burnt
plate because it was all I could find at my local art supply store). If you
can wait for a few days send me your snail mail and I'll send you a dab of
setswell and a portion of burnt plate oil (I have a large bottle of burnt
plate that will last me a lifetime and an old tin of setswell that I will
probably never use again as I've gone waterbase [I got disgusted with oily
last night while making a mess of printing tigers...)^: Cheers, Patti P-C

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Message 6
From: aqua4tis # aol.com
Date: Sun, 24 Jan 2010 18:08:33 GMT
Subject: [Baren 40474] Re: Trans Base AND Oil Paint Question
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patti
i was taught to do this with oil paint to make encaustic paint as well. works just fine
georga

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Message 7
From: plannedscapes # aol.com
Date: Sun, 24 Jan 2010 18:14:15 GMT
Subject: [Baren 40475] Re: New Baren Digest (HTML) V50 #5112 (Jan 24, 2010)
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keeping track of
my editions
I keep the carved block out for people to see for a while after I print a
new design, and so it is lying about when I am doing my signing and
numbering. I might print 35 but give myself room for up to a hundred, and then I
will pick out the best and number them. When I number the last one, say
25/100, I write that on the back of the block in permanent marker (Sharpie) -
I also write whatever I have chosen to title it so that if I am signing
with a title, I will know what I used. I also put the title and the topic on
a wide end and a narrow end of the block so that if I have them stacked on
a shelf, I can find the block I am looking for, to show a customer or to
print more. Then when I print more, I will again put the number of the last
one I signed on the back of the block, say 45/100.

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Message 8
From: Jean Womack
Date: Sun, 24 Jan 2010 21:08:04 GMT
Subject: [Baren 40476] Re: Baren Digest (old) V50 #5112
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My late intaglio professor, John Ihle, of San Francisco State University had
specific ideas about how editioning could be used to the artists advantage
instead of limiting their income. He said each different colored paper
printed on is a different edition. Each different colored ink used is a
different edition. Each different colored background, like chine colle is a
different edition. He said Degas was a genius at editioning to make money.
Putting the iron heel down on the artists is a form of competition and not
encouraging of creativity or art productions. Graham will probably disagree
with me about this.

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Message 9
From: Barbara Mason
Date: Sun, 24 Jan 2010 22:17:53 GMT
Subject: [Baren 40477] Re: metallic pigment
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The gesso makes paper pretty stiff....but the idea is to put something between the paper and the oil paint...I wonder if you used mat medium on the paper? If you are printing relief I think it might work if you rolled the mat medium on thinly and let it dry. You might have to do it to both sides of the paper to keep it from curling.
My best
Barbara

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Message 10
From: markmason.animation # virgin.net
Date: Sun, 24 Jan 2010 22:22:33 GMT
Subject: [Baren 40478] Re: Quandry Over Editions
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Quote:

.so I just printed a few, but numbered for a larger edition of 25 or 50, so
I can go back and print more as needed.

Unquote.



I don't see anything wrong with that. I've been reading recently about the
British Woodblock Printmaker, John Platt. He did exactly that, as did a
number of other great printmakers. They decided on an edition size, and
printed to meet demand. Sometimes they never reached the full edition so it
can be hard to work out just how many copies of a particular print exist.

Just printing 4 or 5 at a time though wouldn't work for me though, as I find
that the first half dozen or so prints I make are part of the fine tuning
and warming up of the blocks, and more than likely get pulled out of the
edition as test pieces.

Others may disagree.

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Message 11
From: Barbara Mason
Date: Sun, 24 Jan 2010 22:42:12 GMT
Subject: [Baren 40479] Re: Quandry Over Editions
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Mark,
You are so right about the first few being bad...when I said I printed 4 or 5, I meant 4 or 5 I would be proud to show, not the first 4 or 5. I would say I do about 8 or 10 to get 4 at the beginning and I keep amazing notes down the side of the good print or bon a tirer, the "good to print" copy that I always keep in my notebook. I can duplicate that print exactly from the notes, down to the "pixel" so to speak. Usually I sell about 4 or 5 but actually have gone as high as 8 or 9.....I have no idea why I set the editions at 20, maybe hope springs eternal with us artists....hahahaha. It could happen...I could get a winner one of these days. However, I am pretty much talking about my oil based etchings here with water based color added....not really woodblock, If I was doing moku hanga I would print at least 30 to get 10, I am sure. It is harder for me to control since I don't use this exclusively in my work but just for my own fun of making a woodblock
print. I never show them except for the ones on the baren exchanges. I don't think they are good enough...I won't live long enough to get good at this but I do love it and I love to teach others about it. It is an amazing process, so relaxing as you cannot put pressure on this type of work. Maybe that is what is so appealing about it...it just cannot be rushed so you relax and enjoy it. With etching I can move mountains in a day....and have.
My best
Barbara

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